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Alexei Borisov: electronics & dictaphone,
Sergey Kostyrko: modular synthesizer.
Recorded and mastered by Sergey Kostyrko.
Artwork by Evgenii Chertoplyasov.
C. has a huge catalog of work as an early champion of the Creative Commons movement, and even before that with mailing good old-fashioned cassette tapes around the world for years. To get a larger sense of his background, visit his bio page.
He is especially a believer of the sharing of music, and the creation of music from sharing. As we are here at Happy Puppy (with a small handful of exceptions), C. Licenses his music as derivative-friendly, hoping to encouraging more music creation, as you will also notice by the large attribution list below for the compositions on this release.
For more visit:
http://www.vuzhmusic.com/
sources
1. Tjurna
Sound source: wave generator
2. Twisted Bridge Dub
This one was done for Disquiet Junto #93 Netlabel Hybrid.
It contains sound samples by the following:
“Dark City” by Marc Pastco from the 12AX7 album released on the Inoquo netlabel
“Zamenhof Blues” by Digital_Me (Shay Librowski) from The Accordian E.P. on the Birdsong netlabel.
“Archean” by PlotKA from the Circulation of Deposits EP on the Qunabu netlabel
3. Deer Triangles
This one uses sounds provided by Sterile Garden for a remix project he was doing. Not sure if it was ever released.
4. Dirigible
This one was done for Disquiet Junto #81 Cheap Generative. It uses sounds sampled from Marsh and May’s 2013 album “Falling More Slowly” avaliable on the Linear Obsessional netlabel
5. Orchard and Resins
This was done for Linear Obsessional’s remix compilation “Button Box”
It uses sounds from Richard Sanderson’s 2013 album “Air Buttons”
6. Our pesticide
This one was done for Disquiet Junto #107 Aeolian Metrics
7. Unpermissive
8. A Harsh Bunny Town
This originally appeared on Wholeness Recordings’ 2012 compilation “Cracks Appear”
It uses sound sources supplied by The Implicit Order for the project.
9. Vaporizing Rain
Site recording.
10. Agape Calypso Rage
This was done for Dave Seidel’s Apocalypse Garage project. It uses sounds provided by Dave originating from his Mysterybear project.
Cover image: Relative, Etching, 10″x8″, 2014 by Mara Tegethoff – used by kind permission.
Thanks to:
Carrie Hodges, Lee Rosevere, Marc Weidenbaum, Dave Seidel, Anthony Washburn, Jacob DeRaadt, Richard Sanderson, Manuel Silva, Mara Tegethoff, Lily and Lumpy, Tricholoma magnivelare.
Also thanks to all of the artists I sampled, and to every artist out there who licenses their work to allow derivative work to be made from it. And to all netlabels everywhere who offer their work for free! Happy Netlabel Day!
Concerning the sound structures that bind them together, their relationship is highly complex in the sense that in certain moments we see extremely opposed planes proceeding independently, a radicalism of timbre and brutality of sound that carries an involuntary dissociation to the ear in order to contain the sounds that the duo presents us. At the same time, in other moments we see artists highly polished from a sonic precision and beauty that generates a temporal confusion, leading us to a careful and precise internal listening.
The duo articulates their discourse from a sonic radicalism, making sure that their music does not permit the listener to release his or her attention from listening at any time. The sonic turbulence generated by the noise of Óscar, and the constant evolution generated by the tension of Haase’s violin makes listening to this album a beautiful challenge for attentive listening, which these days have so much forgotten. But above all, the sonic radicalism, and the freedom of form presented by the duo are appreciated.
Sebastián De Larraechea
(Ciudad Abierta de Ritoque, Chile, june 2015)
EPV_174 ”Three Works by Koen Daigaku” re:interpretation & remix
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basic track by Koen Daigaku [ from EPV_174 ”Three Works ” ]
https://koendaigaku.bandcamp.com/album/three-works
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There is plenty to get your teeth into with The Citizen Made of Glass,
from solid stompers to beatless wonders, all of them carrying a
dexterity and depth that mark Ascetic out as a producer of genuine
talent.
So instead say that from 1979 to 2015, Terse Tapes made compilations, and here is more of the same. You could put it on a cassette if that matters.
I invited a few people I know, and they invited a few people they know, and music started to arrive in my inbox. I refused to listen to any of it until April Fools day. No one curated anything, although some people were nice enough to chase up their friends.
Having heard this music over the last 24 hours I can divide it into some useful ‘sides’, but keep in mind you are able to arrange it however you like in this non-linear wonderland in which we are trapped.
Side A: people who have doubts about music.
Side B: people who do not fear a pretty tune.
Side C: people that make graphs and grids.
Side D: people who could plausibly perform in a public ale house
Side T: time lords
Although supplied for no payment, there are specific rights attached to the recordings, which remain the property of the artists. Do not sell this music for a profit, do not use this music for any commercial purpose, including but not limited to, placement alongside advertisements or behind paywalls.
credits
released 01 April 2015
Organised by Tom Ellard at Terse Tapes, Sydney, Australia. Contents made in the USA, UK, Canada, Switzerland, Australia and other parts of the universe that man may visit from time to time. May contain nuts.
Second piece is made of F pitches taken from a harp, M referring to a loose meter they appear in,forming illusion of patterns. Pitches are electronically manipulated to form a level of material that replaces silence. Imagining music of M. Feldman being played/listened buried in the earth.
